Trunk Records present a highly important and unreleased soundtrack for Circle Of Life, created in 1972 by musician Delia Derbyshire and artist Elsa Stansfield. The soundtrack is a mix of concrete ideas, sound design, tape manipulation, natural environmental sounds and birdsong. The recording was originally commissioned by director, producer and art collector Anthony Roland for his 1972 film about the slides of radical stills photographer, Pamela Bone. The film has been rarely seen and the soundtrack has never been released until now. This is the longest known work by Delia Derbyshire - either alone or in association with anyone else - and has been licensed by Trunk Records exclusively worldwide from the Anthony Roland archive/collection. Mastered by Jon Brooks, AKA The Advisory Circle. Full color four-page CD sleeve.

The incredible follow-up to the successful Britxotica! (JBH 057LP, 2015) and Britxotica Goes East! (JBH 059LP, 2016) LPs. This time, Jonny Trunk and the legendary DJ Martin Green take the listener to a magical musical place full of tropical delights - with songs of heatwaves, coral reefs, Haitian rituals and treasure islands, not forgetting the stormy seas and the odd hurricane. 16 tracks in all from a post-war era of musical adventure, this is Britxotica at its very hottest, most exotic and very best - incredible, rare, lost and exotic music from the wild British isles. Britxotica! (pronounced "Britzotica") neatly describes an odd and yet undocumented pre-Beatles British musical scene where famed UK composers, as well as unknown singers and bandleaders, threw convention on holiday and went wild. For part three of the Britxotica series, the compilation goes to the South Seas for a musical adventure of stormy seas, Hawaiian honeymoons, spooky rituals, dreamy walks through mango groves and a few sips from the juicy coconut. But this is more than just exotic music, the talent here is breathtaking: Kenny Graham, George Melley, Ted Heath, Malcolm Lockyer, Edmundo Ros and more -legendary artists adventuring into unknown territory with incredible results. There are songs and instrumentals here to charm and even beguile - there's even an amazing British cover of "Quite Village" - when did you ever hear one of those? This is wonderfully obscure music, and only Trunk records could compile and package such a compilation of bizarre and super rare British music so superbly. This all new compilation of British treasures is like no other, and will have you booking your ticket to the South Seas for Christmas. Featuring: Lucille Mapp, Frank Weir, The Sound Of Ed White, Ron Goodwin, Geoff Love, Marion Ryan, Dick Katz, International 'Pops' All Stars, Johnny Gentle, Betty Smith And The Malcolm Lockyer Group, Martinas And His Music and Norrie Paramor. Single LP on standard black wax.

Gold vinyl repress! A highly important previously unreleased soundtrack for Circle Of Life, created in 1972 by musician Delia Derbyshire and artist Elsa Stansfield. The soundtrack is a mix of concrete ideas, sound design, tape manipulation, natural environmental sounds and birdsong. The recording was originally commissioned by director, producer and art collector Anthony Roland for his 1972 film about the slides of radical stills photographer Pamela Bone. The film has been rarely seen and the soundtrack has never been released until now. This is the longest known work by Delia Derbyshire - either alone or in association with anyone else - and has been licensed by Trunk Records exclusively worldwide from the Anthony Roland archive/collection. Mastered by Jon Brooks, AKA The Advisory Circle. Full color single LP sleeve.

Britxotica! (pronounced "Britzotica") neatly describes an odd and yet undocumented pre-Beatles British musical scene where famed UK composers as well as unknown singers and bandleaders threw convention on holiday and went wild, A breathtaking follow-up to the successful Britxotica! LP (JBH 057LP) Britxotica Goes East!: Persian Pop And Casbah Jazz From The Wild British Isles! takes the listener on a magic carpet ride to a place where the sphinx, Sheiks, sand dances, tales of yashmaks, Turkish coffee, bizarre belly dances and caravans of camels are the magical, musical norm. But this is music made by post war jazz musicians and show girls from London. Yes, this is perfect Persian pop and killer Casbah jazz made by Eastenders. Features charismatic vocal cues about pyramids, late night desert tristes and outrageous Sutlans. It's also British music as rare and as beautiful as Tutankhamun's treasure. Offers a lost recording of "Caravan", an insane Eastern Kazoo number, several fierce instrumental dance numbers (one penned by Basil Kirchin) that will get you sand dancing all over the shop. Mastered and sequenced by Jon Brooks, AKA The Advisory Circle. Features: Beverley Sisters, Chico Arnez, Stanley Black, Johnny Keating And The Z Men, Charles Blackwell, Philip Green And His Mayfair Orchestra, Kenny Day, Tony Osbourne, Yana, Johnny Keating Kombo. Laurie Johnson, Roy Tierney, Reg Owen and Ray Ellington.

A legendary soundtrack to a legendary film. Originally written by Peter Cook and Dudley Moore for the cult British movie Bedazzled (1967). A sublime musical mixture of pop, jazz, psyche and stupidity, this rare score sadly became the victim of terrible bootlegs in the late '90s, when classic 1960s scores became very much in demand to the easy/jet-set/soundtrack in-crowd. First pressings have always been very hard to find. This is the first legal repress. It comes with the first ever repress of Peter Cook And Dudley Moore Cordially Invite You To Hell, an LP that was given out at the premier consisting of Cook And Moore's improvised radio spots for the film. All cues mastered and sequenced by Jon Brooks, AKA The Advisory Circle. Limited pressing.

2016 repress. So you thought exotic recordings only came from Hawaii or the USA? Well, you're wrong. Here's a collection of amazing, far-flung sounds from the UK. Rare, wild, and just itching to turn your turntable into a strange pagan place of sonic worship. Just try to keep those cocktails from flowing and your clothes on. "Britxotica" (pronounced "Britzotica") is a word you may never have come across before. Trunk hadn't either until DJ and tastemaker Martin Green made it up in 2014. This term neatly describes an odd and yet undocumented pre-Beatles musical scene in which famed UK composers, singers, and bandleaders threw convention to the wind and went wild wild wild! Drawing influences from Hollywood, Hawaii, and holiday (any hot and frantic destination would do) they conjured up sounds to suit a modern but fledgling escape from the gray trudge of postwar London. The result is a bunch of rare, mod, wild, and naïvely experimental trips into the tribal, but keeping the white suit, shirt, and tie firmly in place no matter what the temperature. Fascinating, sometimes fierce, and often absolutely bananas, this new album of old toss is an absolute trip! All cues mastered and sequenced by Jon Brooks aka The Advisory Circle. Single LP. Standard black wax. None of this dicking around with 180-gram tip-ons, multi-colored wax, obis, useless inserts, or unwanted novelty extras. Just rare and interesting music. Performers include Lyn Cornell, Ted Heath, Allan Bruce, Rawicz and Landauer, Lucille Mapp, Sounds Incorporated, Nadia Cattouse, Brian Fahey, Tony Mansell and Johnny Dankworth, Reg Owen, Harry H Corbett, Laurie Johnson Orchestra, Edmundo Ros, Maxine Daniels, Cherry Wainer, and Jerry Allen.

Limited repress. A homemade 86-minute epic space adventure, conceived, written, played, sung, and illustrated by an amateur musician in his bedroom in Hull, England, from 1979 to 1985, and reissued here for the first time. When Alan Jefferson heard The War of the Worlds, he thought he could make something similar, maybe better. This was in 1979. So, he set about it, with limited equipment -- a Moog, a reel-to-reel, a guitar, and some pedals. Six years later, in 1985, Galactic Nightmare was finished, and made available to readers of the magazines Future Music and CU Amiga. Via Jefferson's advertisement, one could buy a 90-minute chrome cassette of the album, complete with poster and storyfile for £7.99 plus £1 postage. Very few people bought it, but one of the writers for Future Music, Dave Robinson, liked the preview copy that he received. He started playing it for a few people. One of those was a guy called Dave Green, who eventually played it for Stewart Lee in the 1990s. All of them found Galactic Nightmare an addictive, unforgettable musical experience. In 2014, Stewart Lee sent a small snippet of Galactic Nightmare to Jonny Trunk, who, a few months later, wrote to the address in the 1986 advertisement. Two days later Alan Jefferson got in touch, and this double LP reissue of Galactic Nightmare is the result. Jefferson wrote the story, narrated the story, wrote and played the music, sang the songs, and made the artwork, poster, storyfile, et cetera, sometimes fighting against faulty instruments and a dodgy tape machine. Galactic Nightmare is a totally unique recording, joyous in its attempt to create something absolutely epic with very few resources and charming in its attention to detail and almost folk-like naiveté. A great example of an amateur being inspired to make something, getting on with it, sticking with it, and ultimately creating an album that few people will forget once they have heard it. Presented in gatefold matte varnished sleeve bearing the original Galactic Nightmare poster; includes original Galactic Nightmare graphics, plans, musical notation, early sketches, advertisements, et cetera inside the gatefold; notes by Alan Jefferson, Jonny Trunk, Stewart Lee, and Dave Green; and complete storyfile with original illustrations across all four sides of the printed inner sleeves.

Trunk Records presents the first reissue of Tam... Tam... Tam...!, an incredibly rare Brazilian LP by José Prates and Miecio Askanasy. In August of 2014, London-based DJ and record collector Gilles Peterson, who had been offered an original copy for $4,700, sent out a request for someone to reissue this extraordinary album. Originally issued in a one-time 1958 pressing as part of Askanasy's 1950s touring Braziliana show, Tam... Tam... Tam...! is a landmark in the development of the Brazilian sound that would explode around the world in the decade to follow. It's stunning both as a historical touchstone and as a standalone musical triumph. The solid blueprint of 1960s Brazilian music runs through it; for example, "Nānā Imborô" clearly prefigures Sérgio Mendes's 1966 hit "Mas Que Nada." The infectious rhythms, melodies, and exotic sounds that fill this album are deep, raw, and totally engaging. And the more one listens to Tam... Tam... Tam...! the more one hears its importance and future influence. This reissue comes at a time when, in a world saturated with information, few important things have escaped attention and reappraisal. Finding anything new and genuinely incredible is a rare feat. This is a prime example of amazing, influential music that until now has remained hidden. In producing this reissue, spurred on by Peterson's request, Trunk Records found that no master recordings could be located. The original 1950s label showed no interest in a reissue, but Ed Motta, the renowned artist, producer, and record collector, agreed to transcribe his original copy on his EMT deck and send the files from Brazil to the UK. The sound was not in the best condition, and the original 1950s vinyl pressing has several musical inconsistencies. Trunk Records painstakingly worked toward a suitable sonic balance, making sure to maintain the bright and driving original sound without cleaning it up so much that the life of the music was diminished. Accordingly, the vinyl edition of reissue was pressed with some very slight surface noise -- any more cleaning would interfere with the true wax sound. The CD edition, however, was pressed with more digital enhancement. Vinyl edition includes original full color LP sleeve. CD edition includes four-page booklet.

2016 repress; LP version. Trunk Records presents the first reissue of Tam... Tam... Tam...!, an incredibly rare Brazilian LP by José Prates and Miecio Askanasy. In August of 2014, London-based DJ and record collector Gilles Peterson, who had been offered an original copy for $4,700, sent out a request for someone to reissue this extraordinary album. Originally issued in a one-time 1958 pressing as part of Askanasy's 1950s touring Braziliana show, Tam... Tam... Tam...! is a landmark in the development of the Brazilian sound that would explode around the world in the decade to follow. It's stunning both as a historical touchstone and as a standalone musical triumph. The solid blueprint of 1960s Brazilian music runs through it; for example, "Nānā Imborô" clearly prefigures Sérgio Mendes's 1966 hit "Mas Que Nada." The infectious rhythms, melodies, and exotic sounds that fill this album are deep, raw, and totally engaging. And the more one listens to Tam... Tam... Tam...! the more one hears its importance and future influence. This reissue comes at a time when, in a world saturated with information, few important things have escaped attention and reappraisal. Finding anything new and genuinely incredible is a rare feat. This is a prime example of amazing, influential music that until now has remained hidden. In producing this reissue, spurred on by Peterson's request, Trunk Records found that no master recordings could be located. The original 1950s label showed no interest in a reissue, but Ed Motta, the renowned artist, producer, and record collector, agreed to transcribe his original copy on his EMT deck and send the files from Brazil to the UK. The sound was not in the best condition, and the original 1950s vinyl pressing has several musical inconsistencies. Trunk Records painstakingly worked toward a suitable sonic balance, making sure to maintain the bright and driving original sound without cleaning it up so much that the life of the music was diminished. Accordingly, the vinyl edition of reissue was pressed with some very slight surface noise -- any more cleaning would interfere with the true wax sound. Vinyl edition includes original full color LP sleeve.

LP version; volume two of two volumes. Bruce Lacey is the quintessential British eccentric. Bruce Lacey is an artist, a musician, a filmmaker, a shaman, a genius and visionary. Since the 1950s he's made film, music, art and performances, and collaborated with everyone from The Beatles to Throbbing Gristle. He was part of the groundbreaking Cybernetic Serendipity exhibition in 1968. He even built a robot that won the Alternative Miss World. This is the first time his extraordinary music has been released. Made and recorded using household objects as well as a modified synthesizer (made by a schoolboy in the early 1970s), it ranges from abstract tribal concrète to droning electronic trance. The music will be released across two separate LPs and one CD. Included will be a fine essay about the history of this inspiring figure by BFI/Flipside archivist Will Fowler. Bruce Lacey has been a busy man. Since the 1950s he's been making film, making music, making art, sculpture, rituals, performances, and more besides. Many of his films have explored the basics of life and sex all with a sprinkle of irony, realism and ritualism. Many of his films have required music, music which Lacey made himself, improvising with bottles, rattles, typewriters and a tape machine. By the early 1970s, Lacey was exploring stone circles and ancient rights; he'd also bought a home-made synthesizer from a schoolboy who'd advertised it in Exchange & Mart. He'd made it as a home project. A week later Lacey bought a keyboard from another schoolboy in Exchange & Mart. Lacey set about slowly modifying this synth and improvising music influenced by his stone circle visits over the next few years. This music is made only when "The Muse" descends. It is impossible for Bruce to perform this improvised music live. The music he made was occasionally available on cassette at his exhibitions in the 1970s. The late Poly Styrene (who had a copy) compared Lacey's music to Tangerine Dream. Lacey had not heard of Tangerine Dream. This is the first time this raw and extraordinary music by one of the UK's most extraordinary men has been made available. Full-color LP sleeve. Includes copious notes and an essay.

Bruce Lacey is the quintessential British eccentric. Bruce Lacey is an artist, a musician, a filmmaker, a shaman, a genius and visionary. Since the 1950s he's made film, music, art and performances, and collaborated with everyone from The Beatles to Throbbing Gristle. He was part of the groundbreaking Cybernetic Serendipity exhibition in 1968. He even built a robot that won the Alternative Miss World. This is the first time his extraordinary music has been released. Made and recorded using household objects as well as a modified synthesizer (made by a schoolboy in the early 1970s), it ranges from abstract tribal concrète to droning electronic trance. Bruce Lacey has been a busy man. Since the 1950s he's been making film, making music, making art, sculpture, rituals, performances, and more besides. Many of his films have explored the basics of life and sex all with a sprinkle of irony, realism and ritualism. Many of his films have required music, music which Lacey made himself, improvising with bottles, rattles, typewriters and a tape machine. By the early 1970s, Lacey was exploring stone circles and ancient rights; he'd also bought a home-made synthesizer from a schoolboy who'd advertised it in Exchange & Mart. He'd made it as a home project. A week later Lacey bought a keyboard from another schoolboy in Exchange & Mart. Lacey set about slowly modifying this synth and improvising music influenced by his stone circle visits over the next few years. This music is made only when "The Muse" descends. It is impossible for Bruce to perform this improvised music live. The music he made was occasionally available on cassette at his exhibitions in the 1970s. The late Poly Styrene (who had a copy) compared Lacey's music to Tangerine Dream. Lacey had not heard of Tangerine Dream. This is the first time this raw and extraordinary music by one of the UK's most extraordinary men has been made available. CD housed in a jewel case with a large 16-page booklet including full-color rare photos and an essay by BFI/Flipside archivist Will Fowler.

Limited restock. LP version; volume one of two volumes. Bruce Lacey is the quintessential British eccentric. Bruce Lacey is an artist, a musician, a filmmaker, a shaman, a genius and visionary. Since the 1950s he's made film, music, art and performances, and collaborated with everyone from The Beatles to Throbbing Gristle. He was part of the groundbreaking Cybernetic Serendipity exhibition in 1968. He even built a robot that won the Alternative Miss World. This is the first time his extraordinary music has been released. Made and recorded using household objects as well as a modified synthesizer (made by a schoolboy in the early 1970s), it ranges from abstract tribal concrète to droning electronic trance.

Jonny Trunk presents Funny Old Shit, an 18-track compilation of funny old shit from the Trunk archive. "From calypsos sung by Bernard Cribbins and Robert Mitchum to avant-garde French concrète, with stops at post-punk, killer vocal jazz, Radiophonics, early African fusion, Argentinean film music and even some twitchy classical from Glenn Gould, this groundbreaking compilation flies in the face of the current trend for issuing records that, to be honest, are actually quite average and really very expensive indeed for what they are. This is a total bargain, an education and a right laugh. Although some people will actually think it's shit. Bernard Cribbins is a British actor and a god, so Bernard was a great place to start, and can you name any other song apart from 'Gossip Calypso,' featured here, that manages to squeeze in the words 'Oxy Acetylene welder?' No, I can't either. This is followed by modern classical music played on strange sculptures by the prolific team of Jacques Lasry and Bernard Baschet. Their sound is reminiscent of film music by Cliff Martinez, and that's maybe because Cliff has a Cristal Baschet sculptural instrument, too. Next we travel to Argentina for some lovely film music (featuring a very young Gato Barbieri) and then to an early fusion of Africa and America with Guy Warren and Red Garland getting all hip and proto-rap. This is followed by a classic chunk of minimal modern music from 1981 by The Jellies. Next up is the B-side from the first-ever BBC Radiophonic Workshop record, which, incidentally, was produced by George Martin. After this we can absorb some high culture with Noel Coward reciting Ogden Nash's words written in 1949 to accompany the romantic classic masterpiece "The Carnival of the Animals," composed way back in 1886. We then move to a high-point in low culture, and to the world's best worst singer, Leoni Anderson. She starred with Laurel And Hardy in one of their many films, and her one and only album is a terrifying delight. As a lover of very fine vocal jazz, too, I had to throw in 'Naima,' a staggering version of Coltrane's classic. A small piece of educational electronics by Terry Dwyer makes quite a good little plugged-in interlude, which leads us nicely to the main theme for the Jacques Tati classic, 'Monsieur Hulot's Holiday.' Eccentric pianist Glenn Gould then appears with the beginning of his legendary 'Goldberg Variations' recording, and then I realized I seem to be nudging towards interesting classical recordings a bit, which I think is no bad thing. And before you know it, we're back enjoying some proper experimental concrète tape larks. Never one to resist a film star singing, I found it almost impossible to not stick in Robert Mitchum singing, and then I realized when I was writing these notes that that this was the second calypso-based record on this very small sampler, and then I thought that very fact might enhance the idea of the whole thing really being a bit 'shit.' After Bob, we can all enjoy a super-rare recording issued to accompany the 1962 kitchen sink drama A Taste Of Honey. We finish with Yusef Lateef's version of Alex North's sublime 'Love Theme' from the film Spartacus. It's a perfect musical spot where an incredible film melody has met one of the great experimental jazzmen of all time. The results are quite exceptional. So chums, that's Funny Old Shit. The idea is to put together more of these samplers with friends, guests and other groovy collectors, and to draw you in further to the funny old shit musical world that is Trunk Records." --Jonny Trunk

This is the beautiful unreleased British jazz score to the classic Anthony Newley '60s Soho underworld thriller. Recorded in 1963 and never issued, the master tape was discovered in the loft of Kenny Graham's daughter's home by Jonny Trunk. Don't ask what he was doing up there, but he found the tape. Little is known about this jazz score, apart from the fact that it comes from one of the great early '60s London movies, and was written and performed by one of the more important jazz mavericks of modern times. Kenny Graham was a jazz musician like no other. He'd formed an Afro Cuban band in the early 1950s, made an album of Moondog covers in 1957 (Moondog and Suncat Suites), been commissioned for advertising music, library music, jazz compositions and film scores, too. But he got little in return, so he'd turned his back on music by the late '60s, never to write or perform again. A true maverick and simply too far ahead of the jazz crowd to get noticed, this charming little score demonstrates just what a great composer he really was. The opening theme alone is one of the more sublime, early morning jazz numbers you could ever wish to hear. Available here for the first time ever on vinyl, CD and download, the CD comes with an 8-page booklet and rare stills from the film. The vinyl will probably sell out really fast and get stuck back on the market by those horrid record flippers for about four times the price.

LP version. This is the beautiful unreleased British jazz score to the classic Anthony Newley '60s Soho underworld thriller. Recorded in 1963 and never issued, the master tape was discovered in the loft of Kenny Graham's daughter's home by Jonny Trunk. Don't ask what he was doing up there, but he found the tape. Little is known about this jazz score, apart from the fact that it comes from one of the great early '60s London movies, and was written and performed by one of the more important jazz mavericks of modern times. Kenny Graham was a jazz musician like no other. He'd formed an Afro Cuban band in the early 1950s, made an album of Moondog covers in 1957 (Moondog and Suncat Suites), been commissioned for advertising music, library music, jazz compositions and film scores, too. But he got little in return, so he'd turned his back on music by the late '60s, never to write or perform again. A true maverick and simply too far ahead of the jazz crowd to get noticed, this charming little score demonstrates just what a great composer he really was. The opening theme alone is one of the more sublime, early morning jazz numbers you could ever wish to hear. Available here for the first time ever on vinyl. The vinyl will probably sell out really fast and get stuck back on the market by those horrid record flippers for about four times the price.

One of the rarest, weirdest and most brilliantly odd soundtracks of all time, written and performed by one of the most fascinating underground characters ever. Described by Jello Biafra as "a disco lounge lizard from hell," Palmer Rockey and the Palmer Rockey story have to be read to be believed, and even then, you might not believe it. And this album has to be heard properly to understand the madness, weirdness and total passion brought to the studio sometime in Texas in the mid- to late 1970s. Palmer Rockey was a remarkable con-artist. He made this one record, the soundtrack to his one weird movie. It's incredibly rare, only one copy surfacing in the last decade. Once heard, you may fall deeply for Palmer's charms, it's strangely moving and all wrong, like something straight out of the world of David Lynch. The edited Palmer Rockey story goes something like this: after a difficult childhood but an interesting education, Palmer Rockey became obsessed by the movies. So obsessed, that he travelled to the UK and tried to get a film script to Boris Karloff in Shepperton. Unsuccessful, he returned to Texas to make his own film. To do so (according to legend) he conned rich Texan housewives out of money. When he got money, he shot film, then fell out with the cast and crew. He then conned more money from different women, shot more film with different cast and crew, then fell out with them, too. This continued for years. The "finished" film, It Happened One Weekend was only shown once (ironically just once, one weekend), at the premier in Canyon Creek, Sunday October 11th, 1974. In fact, the photo on the front of the album was shot by his wife the night of the premier. The film was written, produced, edited, directed, and starred Palmer Rockey (as twin brothers of course), with all music by Palmer Rockey. The plot was apparently demonic and "beyond the room of terrifying evil." Also included was a "Sunday Surprise Ending." I believe the surprise that Sunday was that people laughed all the way through, and even walked out. It was a total disaster on every level, apparently nothing in the movie made any sense at all. But undeterred by such poor reaction, he continued to tinker with the film -- sure that it would eventually bring him an Academy Award. He released it again and again in several different versions over the next few years, firstly with the title It Happened One Sunday, which played briefly in Denver, El Paso, and also at drive-in theaters. The film then disappeared, was recut with new scenes and appeared again in 1980, as Rockey's Style, Scarlet Love, and also Scarlet Warning 666. All the while Palmer Rockey was battling debtors, having already been sued in the 1960s by his uncle for non-payment of loans. There's not a great deal of information about his career and life in the 1980s, but we do know he passed away in 1996, leaving behind very little apart from debt and this unusual self-pressed album. There is no sign or trace of any version of the film anywhere. And boy, are people looking for it. Palmer wrote all the music for the film(s), and there are, as far as we know, two private issues of the soundtrack from the same period -- 1980. There's Scarlet Love, which was followed (or it's possibly the other way around) days or weeks later as he'd decided to change the name of the film again, to Rockey's Style. Both have the same original catalog number and subtitle of "Movie Album," and both have track titles that do not match the albums. You will observe Trunk has kept the original and incorrect tracklisting on the album sleeve, but kept the correct ones on the album and CD labels. Musically it's beautifully played and oddly performed, with a bizarre sense of passion and surprising honesty. It's an unusual album in that once heard, it sticks like glue to your brain. You may well find yourself getting slightly obsessed by it. We certainly have. Sleeve notes include an intro by Jon Brooks of Ghostbox, who not only remastered the album but also quickly became consumed by the music and the Palmer Rockey story. And now this incredible and unique outsider album is released, one has to wonder if anyone will ever find the missing Palmer Rockey movie.

LP version. One of the rarest, weirdest and most brilliantly odd soundtracks of all time, written and performed by one of the most fascinating underground characters ever. Described by Jello Biafra as "a disco lounge lizard from hell," Palmer Rockey and the Palmer Rockey story have to be read to be believed, and even then, you might not believe it. And this album has to be heard properly to understand the madness, weirdness and total passion brought to the studio sometime in Texas in the mid- to late 1970s. Palmer Rockey was a remarkable con-artist. He made this one record, the soundtrack to his one weird movie. It's incredibly rare, only one copy surfacing in the last decade. Once heard, you may fall deeply for Palmer's charms, it's strangely moving and all wrong, like something straight out of the world of David Lynch. The edited Palmer Rockey story goes something like this: after a difficult childhood but an interesting education, Palmer Rockey became obsessed by the movies. So obsessed, that he travelled to the UK and tried to get a film script to Boris Karloff in Shepperton. Unsuccessful, he returned to Texas to make his own film. To do so (according to legend) he conned rich Texan housewives out of money. When he got money, he shot film, then fell out with the cast and crew. He then conned more money from different women, shot more film with different cast and crew, then fell out with them, too. This continued for years. The "finished" film, It Happened One Weekend was only shown once (ironically just once, one weekend), at the premier in Canyon Creek, Sunday October 11th, 1974. In fact, the photo on the front of the album was shot by his wife the night of the premier. The film was written, produced, edited, directed, and starred Palmer Rockey (as twin brothers of course), with all music by Palmer Rockey. The plot was apparently demonic and "beyond the room of terrifying evil." Also included was a "Sunday Surprise Ending." I believe the surprise that Sunday was that people laughed all the way through, and even walked out. It was a total disaster on every level, apparently nothing in the movie made any sense at all. But undeterred by such poor reaction, he continued to tinker with the film -- sure that it would eventually bring him an Academy Award. He released it again and again in several different versions over the next few years, firstly with the title It Happened One Sunday, which played briefly in Denver, El Paso, and also at drive-in theaters. The film then disappeared, was recut with new scenes and appeared again in 1980, as Rockey's Style, Scarlet Love, and also Scarlet Warning 666. All the while Palmer Rockey was battling debtors, having already been sued in the 1960s by his uncle for non-payment of loans. There's not a great deal of information about his career and life in the 1980s, but we do know he passed away in 1996, leaving behind very little apart from debt and this unusual self-pressed album. There is no sign or trace of any version of the film anywhere. And boy, are people looking for it. Palmer wrote all the music for the film(s), and there are, as far as we know, two private issues of the soundtrack from the same period -- 1980. There's Scarlet Love, which was followed (or it's possibly the other way around) days or weeks later as he'd decided to change the name of the film again, to Rockey's Style. Both have the same original catalog number and subtitle of "Movie Album," and both have track titles that do not match the albums. You will observe Trunk has kept the original and incorrect tracklisting on the album sleeve, but kept the correct ones on the album labels. Musically it's beautifully played and oddly performed, with a bizarre sense of passion and surprising honesty. It's an unusual album in that once heard, it sticks like glue to your brain. You may well find yourself getting slightly obsessed by it. We certainly have. Sleeve notes include an intro by Jon Brooks of Ghostbox, who not only remastered the album but also quickly became consumed by the music and the Palmer Rockey story. And now this incredible and unique outsider album is released, one has to wonder if anyone will ever find the missing Palmer Rockey movie.

2013 repress. Both beautiful and charming, this is the long-lost music from one of the UK's most popular and important children's TV shows. Started in 1969 and produced by Smallfilms, The Clangers is a series about a small planet and the little woolen creatures who inhabit it. It ran for just 26 episodes, and grew organically as a show, with the little eco-friendly Clangers discovering music on "Music Trees," learning how to make flying machines and being aware of any space junk crashing into their planet. The music was written (like most of the Smallfilms productions) by Vernon Elliott, a composer and established bassoonist. His pastoral space music is at times slightly abstract, and builds throughout the album from small passages to larger, more complex musical sequences. On its original release (in 2001), the album gained a stunning 10 out of 10 from the NME: "Created in 1969 by Oliver Postgate, the genius who also made landmark kids TV like Bagpuss and Ivor the Engine, The Clangers was an enchanting animated program about a gang of pink alien mice who lived on a blue planet and had friends called the Soup Dragon, the Froglets and the Skymoos. Even now, it's a joy to watch. Fuck The Magic Roundabout and Pigeon Street. One of the best things about the series was the music, and this lovingly packaged collection of original material collects it and revels in its slightly sinister, otherworldly, even free jazz, feel. Sure, there's cute little oboe flourishes and sweet, clinky clanky noises, but underneath all that, there's a definite sense of being lost and alone in a vast, awesome universe, with only pink mice and a flying metal chicken for company. There's 47 minutes and 22 tracks of undiluted Clangers magic on this CD as well as some excellent, illuminating sleeve notes and the cutest 'behind the camera' picture of The Clangers you're ever likely to see. Like the best things in life, it's warm, fuzzy and makes you feel slightly nauseous." The CD version comes with a 12-page full-color booklet with archive extracts, pictures from the TV series and more.

Trunk presents a beautiful compilation of rare and brilliant music made by children in schools. The album features some incredible sounds -- from charming folk songs to full blown avant-garde experiments. Many of these recordings are exceptionally scarce (some selling for close to £1000 these days) and it's unlikely anyone will have heard any of these since they were first recorded. Recordings made by British children are hardly ever heard. Over the last few decades some schools went to the trouble of privately pressing their own LPs for plays, concerts or celebration -- and with very mixed results. Jonny Trunk has collected these scarce UK recordings and compiled the very best ones for Classroom Projects, the first collection of its kind, presenting recordings made between 1959 and 1981. As well as excellent small group versions of traditional songs, there are specially written instrumentals, covers of Italian composer Scarlatti and even songs about drunk driving. Also, we have work encouraged by John Paynter, a free-thinker, educator and true maverick. Part of the University Of York music department, he not only believed that music lessons at school were of the upmost importance, but he also introduced pupils to the modern composers of the post-war period (such as Stockhausen). So instead of music lessons with a group of pupils all blowing the same basic tune on recorders, he encouraged experimentation with tape machines, haiku and creative thought. As a result, some of the recordings on this album sound like conceptual music from Paris in the late '50s, and not from secondary schools in Bedford in 1969. Overall the compilation brings together some inspired musical moments, some unexpected oddness as well as a warm rush of nostalgia as the small choir from St. Brandon's School (now closed) sing "Bright Eyes." The CD comes with extensive notes and images of the original albums in an 8-page full-color booklet.

Limited gatefold vinyl edition. This is quite simply some of the most beautiful children's music ever made, with simple melodies and forgotten rhymes building gradually into more complex roundels and speech exercises. Performed by children in the late 1950s, this wonderful recording is educational, darkly nostalgic, and enchanting. History: This is the first time these important recordings have been in print since 1957. Their origins go back to the 1920s and the Günterschule in Munich, a progressive educational academy that specialized in music and exercise. Carl Orff was a teacher there, and worked on a new method of introducing children to music. Over the next few decades the "Orff Method" was developed and enhanced with the help of one of his former students Gunild Keetman. By the late 1950s the term "schulwerk" (literally "schooling" or "school work") had been adopted and with the inclusion of nursery rhymes and street cries it had spread across Europe as a popular education technique. A two LP recording was issued in Germany in 1957 to demonstrate some of the musical results -- this was followed by a pair of LPs issued in the UK, that were to include the music as well as early English nursery rhymes, songs and sayings. It is these recordings that are being issued here, along with the original and rare sleevenotes. The music is performed on what has since become known as "the Orff instruments": glockenspiels, xylophones, metallophones, drinking glasses, violoncello, bells, cymbals, drums, and the triangle. Rhythmic exercises are executed by hand-clapping, knee-slapping, feet-stamping, as well as using drums, whips, sand-rattles, and other percussion instruments. The spoken word is used for its meaning, its tone-color and rhythmic significance. Nursery rhymes familiar to most of us form a strong base to the album, but there are some here that you may have never come across before. Many of these date back to the 18th century, and Trunk also includes here the oldest song of all -- "Sumer Is Icumen In." Not only is the music absolutely captivating for adults and children alike, the CD comes with extensive 16-page sleeve notes explaining the origins of the songs and sayings. These are magical, rarely heard (and occasionally scary) recordings from the 1950s that highlight just how beautiful the simplest of all music can be. But the release also shows how incredible children's musical education once was. Performers: Chorus of the Children's Opera Group, Speech Ensemble from the Italia Conti School, and The Instrumental Ensemble.

This is quite simply some of the most beautiful children's music ever made, with simple melodies and forgotten rhymes building gradually into more complex roundels and speech exercises. Performed by children in the late 1950s, this wonderful recording is educational, darkly nostalgic, and enchanting. History: This is the first time these important recordings have been in print since 1957. Their origins go back to the 1920s and the Günterschule in Munich, a progressive educational academy that specialized in music and exercise. Carl Orff was a teacher there, and worked on a new method of introducing children to music. Over the next few decades the "Orff Method" was developed and enhanced with the help of one of his former students Gunild Keetman. By the late 1950s the term "schulwerk" (literally "schooling" or "school work") had been adopted and with the inclusion of nursery rhymes and street cries it had spread across Europe as a popular education technique. A two LP recording was issued in Germany in 1957 to demonstrate some of the musical results -- this was followed by a pair of LPs issued in the UK, that were to include the music as well as early English nursery rhymes, songs and sayings. It is these recordings that are being issued here, along with the original and rare sleevenotes. The music is performed on what has since become known as "the Orff instruments": glockenspiels, xylophones, metallophones, drinking glasses, violoncello, bells, cymbals, drums, and the triangle. Rhythmic exercises are executed by hand-clapping, knee-slapping, feet-stamping, as well as using drums, whips, sand-rattles, and other percussion instruments. The spoken word is used for its meaning, its tone-color and rhythmic significance. Nursery rhymes familiar to most of us form a strong base to the album, but there are some here that you may have never come across before. Many of these date back to the 18th century, and Trunk also includes here the oldest song of all -- "Sumer Is Icumen In." Not only is the music absolutely captivating for adults and children alike, the CD comes with extensive 16-page sleeve notes explaining the origins of the songs and sayings. These are magical, rarely heard (and occasionally scary) recordings from the 1950s that highlight just how beautiful the simplest of all music can be. But the release also shows how incredible children's musical education once was. Performers: Chorus of the Children's Opera Group, Speech Ensemble from the Italia Conti School, and The Instrumental Ensemble.

An album of unreleased music made by Jeff Keen, one of the UK's great avant garde artists. This is music found on cassettes in his studio after his death. It was made by Jeff (throughout the 1980s) using field recordings from his local amusement arcade: radio, TV, films, an Atari, a ZX Spectrum, a delay unit and a WASP synth. This is the first Jeff Keen album ever issued. Jeff Keen is one of the great undiscovered artists of our times. A missing link between the Dadaists, Cocteau, Warhol, Picasso, Jack Kirby, and just about anyone else you can think of. Jeff made art every day of his life. Art seemed to explode from him, and he worked across all mediums with boundless creativity and very much his own style. He developed his own graphic, visual, and spoken art language. The BFI (British Film Institute) have issued a 4DVD set of his films. His collages and paintings are currently being exhibited in Brighton, New York, and Paris. The Tate has started buying his work. He's now dead and his stock is quickly rising. The music on this release was made in and around the 1980s, using methods unique to him; in his ramshackle studio he'd have a mic, a radio, an Atari, a ZX Spectrum, a WASP synth, effects units and his own very unusual mind. He mixes field recordings with his very own language ("Bltazwurds") and takes on the characters he developed over his artistic life. This is very much an art/music release. The sound is a little like the industrial albums made in the late 1970s and 1980s, intense, odd, other-worldly, unpredictable. Includes notes by Jonny Trunk, and an important essay by David Toop and recollections by Will Fowler of the BFI, who worked closely with Keen.

Very limited repress. LP version. Each 100 unit block will have a different color vinyl, different screen-printed sleeves (using unseen images from the Jeff Keen sketchbooks), and different inserts. These vinyl colors have been selected by Stella Keen as they represent the comic book palette most used by Jeff Keen in his work. Each LP has a standard 11" x 11" full color insert with an essay by David Toop. Each album will also have another insert taken from the Jeff Keen music notes found in his studio. There are five of these, one for each color of pressing. The LPs and their various bits are all being hand-assembled at the Trunk HQ. One per customer.